S 3529 
V4 H4 
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Jopy 1 




. .^ARTS TO MEND 

A FANTASY IN ONE ACT 



By HARRY A. OVERSTREET 



f;^. 



STEWART KIDD IP 

'MODERN PLAYS • 

EDITED BY FRANK SHAV 



TO BE PUBLISHED SHORTLY 

Fifty Contemporary One -Act Plays 

Edited by Frank Shay and Pierre Loving 

This volume contains FIFTY REPRESENTATIVE ONE-ACT 
PLAYS of the MODERN THEATRE, chosen from the dramatic 
works of contemporary writers all over the world. 
THE CONTENTS ARE 

AUSTRIA: 
Schnitzler (Arthur) -Literature 

BELGIUM: 
Maeterlinck (Maurice)-The Intruder 



BOLIVIA: 
More (Federico)- 



[nterlude 



FRANCE: 
Ancey (George) -M. Lamblin 
Porto - Riche (Georges) - Francoise s 
Luck 

GERMANY: 

Ettlinger (Karl)-Altruism 

von Hofmansthal (Hugo)- Madonna 

Dianora 
Wedekind (Frank)-The Tenor 

GREAT BRITAIN: 

Bennett (Arnold)-A Good Woman 

Calderon (George)-The Little Stone 
House 

Cannan (Gilbert)-Mary's Wedding 

Dowson (Ernest) - The Pierrot of the 
Minute 

Ellis (Mrs. Havelock)-The Subjection 
of Kezia 

Hankin (St. John) - The Constant 
Lover 
INDIA: 

Mukerji (Dhan Gopal)-The Judg- 
ment of Indra 

IRELAND: 

Gregory (Lady)-The Workhouse Ward 
HOLLAND: 

SpeenhoS (J. H.)-Louise 
HUNGARY: 

Biro (Lajos)-The Grandmother 
ITALY: 

Giacosa (Giuseppe) -The Rights of the 
Soul 
RUSSIA: 

Andreyev (Leonid) - Love of One's 
Neighbor 

Tchekoff (Anton)-The Boor 



SPAIN: 
Benevente (Jacinto) - His Widow's 

Husband 
Quinteros (Serafina and Joaquin 

Alvarez) -A Sunny Morning 

SWEDEN: 
Strindberg (August)-The Creditor 
Wied (Gustave) -Autumn Fires 

UNITED STATES: 
Beach (Lewis) -Brothers 
Cowan (Sada)-In the Morgue 
Crocker (Bo8worth)-The Baby Car- 
riage 
Cronyn (George W.)-A Death in Fever 

Flat 
Da vies (Mary Carolyn)-The Slave with 

Two Faces 
Day (Frederic L.)-The Slump 
Planner (Hildegarde)-Mansion8 
Glaspell (Susan)-Trifles 
Gerstenberg (Alice)-The Pot Boiler 
Helburn (Theresa)-Enter the Hero 
Hudson (Holland)-The Shepherd in 

the Distance 
Kemp (Harry) - Boccaccio's Untold 

Tale 
Langner (Lawrence) - Another Way 

Out 
Millay (Edna St. Vincent)-Aro da 

Capo 
MoeJler (Philip)-Helena's Husband 
MacMillan (Mary)-The Shadowed 

Star 
O'Neil (Eugene)-Ile 
Stevens (Thomas Wood)-The Nursery 

Maid of Heaven 
Stevens (Wallace) -Three Travelers 

Watch a Sunrise 
Tompkins (Frank G.)-Sham 
Walker (Stuart)-The Medicine Show 
Wellman (Rita)-For AU Time 
Wilde (Percival)-The Finger of God 

YIDDISH: 
Ash (Sho!om)-Night 
Pinski (David)-Forgotten Souls 



Large 8vo. Cloth. Gilt top NET $5.00 ^ Turkep Morocco NET $12.00 



STEWART & KIDD COMPANY 

PUBLISHERS : - : CINCINNATI, U. S. A, 



STEWART KIDD MODERN PLAYS 
Edited by Frank Shay 



HEARTS TO MEND 



Stewart Kidd Modern Plays 

Edited by Frank Shay 

TO MEET the immensely increased de- 
mands of the play-reading public and those 
interested in the modern drama, Stewart & Kidd 
Company are issuing under the general editor- 
ship of Frank Shay a series of plays from the 
pens of the world's best contemporary writers. 
No effort is being spared to secure the best 
work available, and the plays are issued in a 
form that is at once attractive to readers and 
suited to the needs of the performer and 
producer. 

From time to time special announcements will 
be printed giving complete lists of the Plays. 
Those announced thus far are: 

SHAM, a Social Satire in One Act. 
By Frank G. Tompkins. 
Originally produced by Sam Hume, at the 
Arts and Crafts Theatre, Detroit. 

THE SHEPHERD IN THE DISTANCE, 

a Pantomime in One Act. By Holland Hudson. 
Originally produced by the Washington Square 
Players. 

MANSIONS, a Play in One Act. 
By Hildegarde Planner. 

Originally produced by the Indiana Little 
Theatre Society. 

HEARTS TO MEND, a Fantasy in One Act. 
By H. A. Overstreet. 

Originally produced by the Fireside Players, 
White Plains, N. Y. 

Others to follow. 
Bound in Art Paper. Each net 50 cents. 



HEARTS TO MEND 



A FANTASY IN ONE ACT 



HARRY A^bVERSTREET 



HEARTS TO MEND was first produced by the FIRE- 
SIDE PLAYERS, White Plains, N. Y., in April, 1919, with 
the following cast: 

Pierrot, _ _ _ _ _ James H. Wallace 
Pierrette, _ _ _ _ Millicent Ives 
TiNS-To-MEND Man, - - - G. W. Mtchelbacket 




CINCINNATI 

STEWART & KIDD COMPANY 

PUBLISHERS 



3? 






\ 



Copyright, 1920 
STEWART & KIDD COMPANY 



//// Rights Reserved 
Copyrighted in England 



This play is fully protected by the copyright law, all requirements of 
which have been complied with. No performance, either professional or 
amateur, may be given without the written permission of the author or 
his representative, who may be addressed in care of the publishers, 
Stewart & Kidd Company, Cincinnati, Ohio. 



g)CI.A601627 



NOV 20 1920 



*vvO 



HEARTS TO MEND 



The Scene is the living room, dining room and 
kitchen — all in one — of Pierrot and Pierrette. 
It has the diminutive look of a toy house, and 
the immaculate spick-and-spanness. There are 
copper kettles and pots on shelves and blue and 
white plates and cups and saucers. There is a 
crib in the corner, left, with a screen that can 
be drawn about it. A table is at the right, front, 
by the side of which sits Pierrot, head in hands, 
elbows on knees, very gloomy. A door, left, 
leads to an inner room; a door, right, to the 
street. 



HEARTS TO MEND 

(Pierrette is heard singing a lullaby in the next 
room.) 

Old Mister Moon is sinking to rest — 

Sleep, kittikins, sleep! 
The whispery winds have died in the west — 

Sleep — kittikins — sleep ! 

{She comes in, holding a babe in her arms; 
sings — very softly.) 

Up in the sky are the firefly stars — 

Sleep, kittikins, sleep I 
Father will catch them in crystal jars — 

Sleep — kittikins — sleep ! 

{She lays the babe in its crib, the while softly 
humming the tune. Then she draws the screen 
about the bed. Meantime she casts anxious 
glances at the moody Pierrot. The babe asleep, 
she runs to Pierrot, kneeling at his side,) 

PIERRETTE 

Tired, sweetheart? 

PIERROT (indifferently) 
Oh — I guess so. 

PIERRETTE 

And famished, isn't that it? 

Kettle not boiling, 

And table unset; 
And hungry man waiting 

For slow Pierrette ! 



HEARTS TO MEND 



ItUl all be on the table, dear, in just the littlest 
minute. 

PIERROT 

Oh, it's not supper. 

PIERRETTE 

Not supper? 

PIERROT 

No. 

PIERRETTE (solicitously) 

You haven't caught cold, Pierrot? You know 
I told you to wear your woolen muffler and put 
on your rain shoes. For a man of your supe- 
rior intelligence, you are so careless i 

PIERROT 

(getting up with irritation and walking away) 
Oh, let me alone, Pierrette ! You wouldn't un- 
derstand. Get some supper for yourself. I 
don't want any. 

(She looks at him troubled for a moment. Then 
she runs to him, puts her hands on his breast.) 

PIERRETTE 

Pierrot. 

PIERROT 

Well? 

PIERRETTE 

(pointing an accusing finger at him slowly) 
You — haven't — been — to — see — your — 
bank — account — again? 
(Pierrot shakes his head gloomily.) 
8 



HEARTS TO MEND 



PIERRETTE 

Oh yes you have I Don^t deny it I And worry- 
ing yourself to death about expenses. But 
Pierrot — things aren't nearly as bad as you 
think they are. I'm doing all my own work — 
even the washing and the ironing — and Pier- 
rot I — I've got a scheme! We'll take a 
boarder! 

PIERROT (disgusted) 
Boarder! Ugh! 

PIERRETTE 

Why not, sweetheart? Of course, we'd have 
to talk to him at mealtimes, I suppose. And 
you couldn't kiss me across the table as you 
used to. . . . (Suddenly J with a catch) Do 
you know, Pierrot, you haven't kissed me across 
the table for — oh — ever so long! 

PIERROT (struggling with himself) 
Pierrette . . . 

PIERRETTE 

Yes, dear. 

PIERROT (trying to get it out — then in despair) 
Oh, what's the use. I can't tell it to you. 

PIERRETTE (troubled) 

Why, what is it, Pierrot? You've lost some- 
thing ? 

PIERROT (quickly) 

Yes — that's it. I've lost something — the only 
thing I had, Pierrette — my song! 

9 



HEARTS TO MEND 



PIERRETTE 

Ah, the silly people didn't laugh to-day — that's 
It? 

Silly, silly people, 

Staring at a steeple; — 

And you're all in the dumps, Pierrot? Isn't 
that the trouble? 

PIERROT 

They didn't laugh to-day, Pierrette; and they 
didn't laugh yesterday. They haven't laughed 
for a long time — not as they used to. (Most 
gloomily) And three of my songs have come 
back from the editors! 

PIERRETTE (defending him) 

But who cares for editors, Pierrot? They're 
such stupid creatures I Some day you'll write 
a great song that everybody'll love; and then 
you'll see all the foolish little editors bringing 
you velvets and gold. 

PIERROT (in gloom) 

No. The editors are right. The people are 
right. Something's gone out of me. I'm not 
the same as I was before — before — How long 
have we been married, Pierrette? 

PIERRETTE 

Just three tiny years I 

PIERROT (sighing) 

Only three years I (Then bitterly — to Pier- 
rette) Here I — I'll give you a sign. Look! 
(He zvalks with flat, listless feet up and down 

10 



HEARTS TO MEND 



the room; then speaks, with a hopeless sob in 
his voice) I no longer walk on my toes I See I 
Flat — like that! No songs ever walked that 
way I Songs ? No — here's the way — 

(He rises momentarily to his toes and sings,) 

Oh, a merry, merry fellow, 

And a sweet, fair maid, 

Danced on the meadow in the gypsy time — 

Said the merry, merry fellow 

To the sweet, fair maid — 

(He breaks off.) 

PIERROT (hopeless) 

No — I can't do it. It's gone out of me (Des- 
perately) Pierrette — I've come to a conclu- 
sion. I ought never to have married I 

PIERRETTE (suddenly stabbed) 

Oh, Pierrot, it's been the most beautiful thing 
in all the world ! 

PIERROT 

That's because you're a woman, Pierrette, and 
not an artist. 

PIERRETTE 

But you said it was the most beautiful thing in 
all the world, Pierrot. 

PIERROT (vaguely) 

Did I ? That was long ago. You don't under- 
stand, Pierrette. Women never do. Life to 
them is a little cage in which they sit all day 

n 



HEARTS TO MEND 



long and sing tiny songs about tea and muf- 
fins. Men are different. Put them in a cage 
and they sing for a day. Then they begin to 
droop. 

PIERRETTE (hurt) 

So you want to go away, Pierrot? 

PIERROT (passionately) 

I want to capture it again — the power, the 
thrill, the fire of song ! 

PIERRETTE 

And you would capture it if — if I — (looking 
toward the screen which hides the crib) if we — 
were not here? 

PIERROT (flinging out his arms in despair) 
Oh, I'm a brute, Pierrette ! I don't know. I'm 
gone stale — that's the trouble. I'm done for 
— all these worries and things. I'll sit at home, 
I guess, and darn socks! 

(He flings himself into his chair. Pierrette 
moves quietly about, putting his tea on the 
table. She sets tea only for one.) 

PIERRETTE (handing him his cup) 
There, sweetheart. Your tea. 

PIERROT (stirring himself) 

Aren't you going to have some, too? 

PIERRETTE (controlling her voice and with her 
back half turned to him as she goes to the other 
room) 

12 



HEARTS TO MEND 



Oh no, dear; I've had lots of tea this after- 
noon. Vm not hungry. Besides, I'm late with 
the cleaning up. I'll be gone only a minute. 

(She goes out quickly. Pierrot makes to rise 
and follow her; then, with a hopeless wave of 
the hand, sinks back into the chair. He drinks 
his tea moodily. There is a voice outside) — 

*'Tins to mend ! Tins to mend I" 

(A knock at the door and. the Tins-to-mend 
man enters.) 

MAN (taking of his cap, half humorously, half 
apologetically) 

Any tins to mend, sir? 

PIERROT (grimly) 

Nothing as easy as that in this house. It's 
hearts to mend here I 

MAN (slinging off his pack) Hearts to mend? — 
oho — I do that, too! Truth is (confidentially), 
it's come to be my main business. For if you'd 
believe it, there's more hearts to mend and 
souls to mend than pots and kettles to mend 
in this old world of ours. Fact, my dear sir, 
fact ! (Sits down) And you can't throw hearts 
away when they begin to show wear — now 
can you? — like you throw away an old pot? 
No siree ! (Impressively) You got to mend 
'em. And there's tricks about mendin' them, 
sir — tricks in all trades, say I. You can mend 
'em so's they's worse'n they was in the begin- 
ning. And you can mend 'em so careful and 

13 



HEARTS TO MEND 



SQ clever, you can't tell they was ever mended 
at all. In fact, I've mended some of them so 
they was better that way than they was in the 
beginning. Seems curious, but it's true. If there 
was a kettle now you wanted me to work on 
while I was talkin', it'd keep me busy. 
(Pierrot looks about; gets up and tosses him 
a kettle.) 

PIERROT 

There ! Bang away at that ! 

(He sits down again. The Tins-to-mend man 
hammers away for awhile, Pierrot watching 
him gloomily.) 

MAN 

You see — pots and kettles is curious things. 
Y' can't just let 'em set there and be. They 
rust. That's what they do. Y' got t' keep 
shinin' 'em — keep polishin' 'em up. And they 
like it, sir — oh, they do! They kinda get a 
hold on life. And when they hang in your 
kitchen all bright and happy like, they just seem 
to sing away like birds. Now you're a singer, 
sir — why don't you make a song about that? 

PIERROT 

I can't sing any more. 

MAN 

Lost your voice, sir? 

PIERROT 

No — worse than that — I'm married! 
14 



HEARTS TO MEND 



MAN (solicitously) 

That's bad, sir; that's bad — if you're not mar- 
ried right. They take it out of a man, them 
wicked ones! 

PIERROT (firing up) 

Who said she was a wicked one? 

MAN 

But if she's good — 

PIERROT (hopelessly) 

Ah, that's the trouble. She's good. A man 
can't live on goodness alone. It gets on his 
nerves. 

MAN 

And what else should he live on? 

PIERROT (passionately) 

Thrills — passions — longings ! The kisses that 
make dreams — the touches of hands that make 
the songs come tumbling out of you — 

MAN (laughing) 

Oho, but it ought to be easy enough for a hand- 
some young master like you to get those things I 

PIERROT 

It'd break her heart. 

MAN (lifting his eyes) 

Then you're fond of her, sir? 
15 



HEARTS TO MEND 



PIERROT (roughly) 

Of course I'm fond of her. That's just the 
trouble! (pause) But I'm tired to death of 
her — and that's the trouble, too. First, when I 
loved her, just a peep of her out of a window 
would set my heart dancing. Now, when I 
see her — it's just like seeing — the butcher boy 
— or the bakeshop woman. (Rises excitedly) 
I tell you when things are like that, something's 
got to be done. An artist can't live that way. 
Ordinary men can. All they want of their 
wives is to be cushions — soft — so's they can go 
to sleep. Artists are different. They want the 
sky and all the quivering stars in the sky. When 
they marry (he makes a grimace) — it's good- 
bye to the stars! 

MAN (looking at him quizzically) 

Did you ever think, sir, why the night was made 
— ^with them stars you talk of? 

PIERROT 

Why was the night made ? 

MAN 

Or why there's settin' o' the sun and risin' o' 
the sun? 

PIERROT 

Why is there setting of the sun and rising of 
the sun? 

MAN 

Well — I don't exactly know myself. But I 
seem to figger it out this way. Think of what 
i6 



HEARTS TO MEND 



it*d be, I says to myself, if there was all just 
one long day. Always day and day and day. 
Always the same glary light starin' y' in the eye 
— borin' into your brain — so's y' couldn't shut 
it out from y'; so's y' couldn't get away from 
it; so's y' couldn't watch the shadders come 
stealin' along, the sun a-settin' and the twinklin' 
stars a-comin' out — and so's y' couldn't stretch 
yourself out and sleep — and so's y' couldn't all 
of a sudden wake and hear the birds chirpin' 
and a new day come ! Ah, it's that, sir — it's the 
comin' of the new day that makes life the grand 
thing it is — the comin' of the new day every 
day! 

PIERROT (wonderingly) 

The coming of the new day every day? 

MAN 

Just that. It's a grand plan, sir! Keeps the 
world young. You try it. 

PIERROT 

Try it? What do you mean ? I'm not the sun. 

MAN 

Ah, but you can be — and starlight and moon- 
light! How long was it — now tell me — since 
the thought came to you in the morning — I'll 
bring her — I'll bring her a vi'let? Oho — I 
know — (sings) 

Sweet was the honeymoon, 

Swift it passed away — 
Now we're steady married folk — 

Day after day. 

17 



HEARTS TO MEND 



It's only for a short time — in the beginning — 
that every day's a new day. After that it's just 
always the same — always the same — and no 
risin' o' the sun in the mornin' — no chirp of 
birds — and no singin' in the heart. 

PIERROT 

You mean — 

MAN (roguishly, bending to his task) 

I mean there's a good way to mend kettles and 
a bad way, sir; and when the kettles are sing- 
in' and the fires are burnin' under them — Oho 
— but there's more hearts than kettles I 

(Pierrot stands thinking,) 

PIERROT (to himself) 

I used to bring her things — a little red cloak 
I once brought her. Oh, she was happy I I 
remember that day. I made a song about it. 

MAN (hammering away — sings) 

Tins to mend. 
And hearts to tend; 
Hearts and tins 
Have outs and ins ! 

PIERROT (continuing — to himself) 

It was one of my very best songs. And she was 
so happy I (Suddenly) Why — I've forgotten 
all about her lately I Even her birthday I She 
had to remind me of it I Poor Pierrette ! 

i8 



HEARTS TO MEND 



MAN (sings) 

Outs and ins; 

Outs and ins; 

That's where the trouble 

Of life begins! 

(Pierrot looks up. His eyes suddenly grow 
bright with an idea.) 

PIERROT (rising to his toes — running to the Tins- 
tO'Mend Man) 

I have it, old fellow — I have it! There's a 
shop — just a step away. I know something she 
wants there. I'm going to get it for her! 

My purse it is lean; 

My purse it is lank; 
But who cares a flip 

For the state of my bank ! 

(He dances delighted.) 

Come — are you finished? Fve got to hurry. 
She's gone off into that room to clear up. She'll 
be coming back any minute. 

MAN (looking up smiling — handing him the ket- 
tie) It's mended. Better than it ever was I 

(Pierrot takes the kettle — runs to the shelf and 
puts it away. To the Man — 

PIERROT 

Come now, come I 

MAN (gathering up pack) 
I'm coming. (Sings) — 
19 



HEARTS TO MEND 



Life's a joy 

When turned about; 
In to in 

And out to out. 

PIERROT (putting on cloak) 

If I hurry now, I'll have it here before she's 
through with her work; it's a beauty — it's a 
beauty (dances exultant). 

My pockets are slimpsy as pockets can be; 
And short is the space twixt the poorhouse and me ; 
But while there's a copper that hasn't been spent, 
I'll mortgage my shoes for the price of the rent! 

(They both make their exit as Pierrot sings.) 

After a moment, Pierrette opens the inner door 
softly, and seeing that no one is there, steps in. 
She has on a cloak and a hood over her head. 
She is very sad. 

She first takes the tea things from the table. 
Then, hesitating, she goes to the screen, pulling 
it softly aside. She leans over the crib for a 
merest moment. Then she pulls the screen to 
again, whispering: 

Up in the sky are the firely stars; 

Sleep, Kittikins, sleep! 
Father will catch them in crystal jars — 

PIERRETTE 

Yes, Kittikins, we must let father. Father can 
make such beautiful songs. We must not stand in 
his way, Kittikins — we love him so. 

20 



HEARTS TO MEND 



(She goes to the shelf and gets down a sheet of 
papery the ink horn and a quill pen — takes them 
to the table, sits and writes.) 

PIERRETTE 

We'll just write this: "Mother Merle — will 
— take — Kittikins. — She — loves — her. — 
Good-bye — Sweetheart." We'll leave it here. 

(She folds it and lays it on the table. She half 
goes once more to the crib; but she controls her- 
self. Then, as she goes to the door, she half 
turns, looks at Pierrofs chair, and sings 
softly) — 

Love comes in, a-tip-toe, laughing; 

Love trails out with leaden feet — 
Love that's here to-day may leave us, 

Banished in a windy street. 

I shall love you always, always — 

Sweetheart, through the endless years; 

I shall love you with my heartaches; 
I shall love you with my tears. 

(She goes out into the night.) 

(After a time Pierrot comes hurrying in. His 
eyes are dancing. His toes are dancing. He 
peeks about to see if she is there. Then he 
makes to hide his package under the stool, but 
thinks better of it. He runs to the screen, but 
again decides against the place. He looks about 
and considers. An idea strikes him and he 
takes of his peaked hat and drops the package 
into that. But again he decides against it. At 
last, with a sudden inspiration, he runs to the 
pewter pot.) 

21 



HEARTS TO MEND 



PIERROT (gleeful) 

She'll use that to-night when she warms Kit- 
tikins' milk. A great idea I Oh, she'll be sur- 
prised! And I'll just pretend I know nothing 
about it I I'll be reading in my book — or writ- 
ing — making faces at my paper — and I'll see 
her out of the corner of my eye — 

Hi, hi— 

Pierrette, hot! — 
Peep behind 

The pewter pot! 

She'll take the pot away. She'll find the pack- 
age! She'll open it! Then she'll just go all 
red and white — I can see her in my mind's eye 
— and she'll run over to me — 

(He sees the paper on the table; reads it.) 

PIERROT 

Pierrette! (He runs to the door of the inner 
room) Pierrette ! (He runs to the street door) 
Pierrette ! ( Then he runs hack for his hat; 
but just as he makes to follow her, the meaning 
of it comes over him. He drops his hat. He 
goes slowly to the table, dropping into his chair) 
It's right. It's what ought to be. She was a 
wisp of sunlight — a night of stars — she was 
birds singing and summer winds. She was 
Pierrette! — (With a sob) And I drove her 
away! 

(He sinks into the chair, his head on his arms. 
There is a pause. The door opens softly. 
Pierrette peeps in. Seeing Pierrot all crumpled 

22 



HEARTS TO MEND 



up, she tiptoes toward him a few steps, stretch- 
ing out her arms yearningly. But she controls 
herself, tiptoes a few steps towards the crib, 
blows a kiss to the baby and turns to go out 
again. Pierrot lifts his head suddenly, sees her 
and juinps up. Pierrette tries to escape him,) 

PIERROT (catching her in his arms) 
Pierrette I 

PIERRETTE 

Oh, Pierrot, I just came back for the littlest 
look. I couldn't help it. I'll go now. 

PIERROT 

But Pierrette, look! (He dances about) It's 
all come back again ! I've got a new song sing- 
ing in me, Pierrette! It's the best song yet. 
It'll make me famous! 

The editors will flock to me, 

Exactly as you said — 
A-bringing gold and velvets 

And a-swelling of my head I 

(He tries to take her cloak of.) 

PIERROT (coaxingly) 
Pierrette, please stay! 

PIERRETTE 

No, no — it was because I went away, don't you 
see? That's how you found your song. You're 
right, Pierrot — wives ought to go away. 

23 



HEARTS TO MEND 



PIERROT 

But they ought to come back again, too, 
Pierrette I 

PIERRETTE 

Only for a tiny look, Pierrot. They'd like- — 
oh yes, they'd like to stay. But if they're wise 
— ah no — Good-bye I 

(She starts to go. Pierrot runs after her.) 

PIERROT 

Pierrette — if you must go — wait — (mysteri- 
ously) — there's something here for you. 

PIERRETTE 

Something for me? 

PIERROT 

Something for you. 

PIERRETTE 

Where is it? 

PIERROT (teasingly) 

Perhaps it's on the ceiling, 

Perhaps it's on the floor; 
Perhaps it's gone to visit the moon. 

And won't be back till four I 

PIERRETTE 

Oh, Pierrot, don't tease! Where is it? 

PIERROT (more teasingly) 
Guess I 

24 



HEARTS TO MEND 



PIERRETTE 

Is it — is it — ^behind the screen? 

PIERROT 

Guess again. 

PIERRETTE 

Is it — is it — under the clock? 

PIERROT 

Guess again. 

PIERRETTE 

Is it — is it — under your hat? 

PIERROT 

Guess again. 

PIERRETTE 

Is it — is it — ah — I know where it is. It's be- 
hind the pewter pot! 

PIERROT 

Right ! 

(She runs up and gets the package^ opens it and 
discovers a necklace of gay, red heads.) 

PIERRETTE 

Why — Pierrot — for me? 

PIERROT (making believe to consider) 

Well, that depends. I thought it was for you. 
But if you're going away — 

25 



HEARTS TO MEND 



PIERRETTE 

But why did you get It for mc? 

PIERROT 

Do you want to know, sweetheart? 

PIERRETTE 

Yes. 

PIERROT (dances) 

Old Mister Pierrot 

Went to a shop; 
Then he came back again — 

Hop — skip — hop I 

PIERRETTE 

But that isn't the reason, Pierrot. Be sensible. 

PIERROT (continues) 

Old Mister Pierrot 

Was blue, blue, blue — 
Along came a tinker-man 

And showed him what to do ! 

PIERROT 

Pierrette, I've come to a conclusion! 

PIERRETTE (apprehensively) 

Not another conclusion, Pierrot? 

PIERROT 

Yes. I'm great on conclusions. It*s this: that 
most husbands, with adorable wives, are don- 
keys! 

26 



HEARTS TO MEND 



PIERRETTE 

Oh, but I knew that long ago — ever since I 
married you. 

PIERROT 

You knew it all that time? 

PIERRETTE 

Of course. 
PIERROT 

Then how were you able to put up with me? 

PIERRETTE 

Oh, I knew you'd discover it some day; and 
when you did discover it, you'd be such a nice 
donkey. Pierrot, I've come to a conclusion 
myself ! 

PIERROT (apprehensively) 

You, too, Pierrette? What is it? 

PIERRETTE 

That most wives, with clever husbands, are silly 
geese ! 

PIERROT (heartily) 

Why, I've known that, Pierrette, ever since I 
married you. I didn't think I ought to tell you, 
though. 

PIERRETTE 

And I don't blame you, Pierrot — not for a min- 
ute — for wanting me to go away. 
27 



HEARTS TO MEND 



PIERROT (fervently) 
I want you back, now ! 

PIERRETTE 

But I a7n going away, Pierrot I 

PIERROT 

Pierrette ! 

PIERRETTE 

Not now, Pierrot — but some time ! 

(Js the curtain falls, they bend quickly toward 
each other, their hands stretched out behind, 
and kiss.) 



38 



Four Plays of the Free Theater: 

"The Fossils," **The Serenade," 

•*Francoise' Luck," "The Dupe." 
Authorized Translation with Introduction by 

Barrett H. Clark 

The Contents of this Volume are: 

Preface by Brieux 

Antoine and the Free Theater, by Barrett H. Clark. 

T/ie Fossils^ by Francois de Curel. Rather short three-act 
play, first produced in 1892. Time, the present. A problem 
play of family pride and desire to perpetuate itself. Characters: 
The Duke de Chartmelle, Robert de Chartmelle, Nicolas, 
a Farmer, a Country Neighbor, a Servant, Claire de Chart- 
melle, Helen Vatrin, a Nun. 

The Serenade^ by Jean Jullien, a Bourgeois Study in three 
rather short acts; first produced in 1887. Characters: Theo- 
dore Cottin, Calixte Poujade, Maxine Champanet, Prosper 
Poujade, Durhoulin, Fournier, Nathelie Cottin, Genevieve 
Cottin, Celina Roulard, Leocadie, Dumoulin, Clemma, Dodo. 

Francoise' Lucky by Georges de Porto-Riche. Medium length, 
one-act comedy; first produced in 1888. Characters: Marcel 
Desroches, Guerin, Jean, Francois, Maseleine. 

The Dupe^ by Georges Ancey, a comedy in five short acts; 
first produced in 1891. Characters: Albert, Madame Viot, 
Adele, Marie. 

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SHORT PLAYS 

By MARY MacMILLAN 

To fill a long-felt want. All have been successfully pre- 
sented. Suitable for Women's Clubs, Girls' Schools, etc. 
While elaborate enough for big presentation, they may be 
given very simply. 

This volume contains ten Plays: 

The Shadowed Star has six women, one boy; may all be taken 
by women. Time, present. Scene, in a tenement Christmas 
Eve. One act, 45 minutes. 

The Ring. Costume play. Time, days of Shakespeare. Three 
women, seven men. Scene, interior. One act, 45 minutes. 

The Rose. One woman, two men. Time, Elizabethan. Scene, 
castle interior. One act, 30 minutes. Song introduced. 

Luck. Four short acts. Time, present. Interior scene. 
Seven women, six men. Comedy. 

Entre' Acte. Costume play. Time, present. Scene, interior. 
Two women, one man. Contains a song. One act. 

A Woman's a Woman Jor A* That. Time, present. Interior 
scene. One act, 45 minutes. Three women, two men. Comedy. 

A Fan and Two Candlesticks. Costume play. Colonial times. 
Scene, interior. Two men, one woman. One act, 20 to 30 
minutes. Written in rhymed couplets. 

A Modern Masque. Time, present. Scene, outdoors. Fan- 
tastic, written in prose and verse. Costume play in one act, 
30 minutes or more. Four women, three men. 

The Futurists. One-act farce, of the first woman's club of the 
early eighties. Interior. Forty-five minutes Eight women. 

The Gate of Wishes. One-act fantasy. Outdoors. Half hour. 
One girl, one man. Singing voices of fairies. 

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MORE SHORT PLAYS 

By MARY MacMILLAN 

Plays that act well may read well. Miss MacMillan's 
Plays are good reading. Nor is literary excellence a detriment 
to dramatic performance. 

This volume contains eight Plays: 

His Second Girl. One-act comedy, just before the Civil War. 
Interior, 45 minutes. Three women, three men. 

At the Church Door. Fantastic farce, one act, 20 to 30 minutes. 
Interior. Present. Two women, two men. 

Honey. Four short acts. Present, in the southern mountains. 
Same interior cabin scene throughout. Three women, one 
man, two girls. 

The Dress Rehearsal of Hamlet. One-act costume farce. 
Present. Interior. Forty-five minutes. Ten women taking 
men's parts. 

The Pioneers. Five very short acts. 1791 in Middle- West. 
Interior. Four men, five women, five children, five Indians. 

In Mendelesia, Part I. Costume play. Middle Ages. Interior. 
Thirty minutes or more. Four women, one man-servant. 

In Mendelesia^ Part II. Modern realism of same plot. One 
act. Present. Interior. Thirty minutes. Four women, one 
maid-servant. 

The Dryad. Fantasy in free verse, one act. Thirty minutes. 
Outdoors. Two women, one man. Present. 

These plays, as well as SHORT PLAYS, have been pre- 
sented by clubs and schools in Boston, New York, Buffalo, 
Detroit, Cleveland, New Orleans, San Francisco, etc., and by 
the Portmanteau Theatre, the Chicago Art Institute Theatre, 
the Denver Little Art Theatre, at Carmel-by-the-Sea in 
California, etc. 

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A Notable Achievement 

European Theories of the Drama 

An Anthology of Dramatic Theory and Criticism from 
Aristotle to the Present Day, In a Series of 
Selected Texts, With Commentaries, 
Biographies and Bibliographies 

By BARRETT H. CLARK 

author of 
"Contemporary French Dramatists," "The Conti- 
nental Drama of Today," "British and 
American Drama of Today," etc., etc. 

A book of paramount importance. This monumental anthology 
brings together for the first time the epoch-making theories and criti- 
cisms of the drama which have affected our civilization from the be- 
ginnings in Greece down to the present day. Beginning with Aristotle, 
each utterance on the subject has been chosen with reference to its 
importance, and its effect on subsequent dramatic writing. The texts 
alone would be of great interest and value, but the author, Barrett 
H. Clark, has so connected each period by means of inter-chapters 
that his comments taken as a whole constitute a veritable history of 
dramatic criticism, in which each text bears out his statements. 

Nowhere else is so important a body of doctrine on the subject of 
the drama to be obtained. It cannot fail to appeal to anyone who is 
interested in the theater, and will be indispensable to students. 

The introduction to each section of the book is followed by an 
exhaustive bibliography; each writer whose work is represented is made 
the subject of a brief biography, and the entire volume is rendered 
doubly valuable by the index, which is worked out in great detail. 

Prof. Brander Matthews, of Columbia University, says: "Mr. 
Clark deserves high praise for the careful thoroughness with which 
he has performed the task he set for himself. He has done well what 
was well worth doing. In these five hundred pages he has extracted 
the essence of several five-foot shelves. His anthology will be in- 
valuable to all students of the principles of playmaking; and it ought 
to be welcomed by all those whose curiosity has been aroused by the 
freciuent references of our latter-day theorists of the theater to their 
predecessors Aristotle and Horace, Castelvetro and Scaliger, Sidney 
and Jonson, d'Aubignac and Boileau, Lessing and Schlegel, Goethe 
and Coleridge." 

Wm. Lyon Phelps, of Yale University, writes: "Mr. Clark's book, 
'European Theories of the Drama,' is an exceedingly valuable work 
and ought to be widely useful." 

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The Portmanteau Plays 

BY STUART WALKER 

Edited and with an introduction by Edward Hale Bierstadt 



Brooklyn Eagle : "All of the plays in these attractive maroon 
volumes are literary without being pedantic, and dramatic without 
being noisy. They are a genuine addition to the steadily growing list of 
worthwhile plays by American dramatists. Stewart & Kidd are to be con- 
gratulated on presenting them to the public in such attractive format." 



Vol. 1— Portmanteau Plays 

Introduction 

The Trimplet 

Nevertheless 

Six Who Pass While the Lentils Boil 

Medicine Show 

Vol. 2 — More Portmanteau Plays 

Introduction 

The Lady of the Weeping Willow Tree 

The Very Naked Boy 

Jonathan Makes a Wish 

To be issued shortly 

Vol. 3 — Portmanteau Adaptations 

Introduction 

Gammer Gurton's Needle 

The Birthday of the Infanta 

"Seventeen" 

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LIBRARY OF CONGRESS 




Ready Shortly 

The Provinceto^ ^^ ^^^^^^^^ 

Edited by 
George Cram Cook and Frank Shay 

THE CONTENTS ARE: 

Alice Rostetter's comedy The Widow's Veil 

James Oppenheim's poetic . Night 
George Cram Cook's and 

Susan Glaspeirs Suppressed Desires 

Eugene O'Neiirs play Bound East for Cardiff 

Edna St. Vincent Millay's Aria de Capo 

Rita Wellman's String of the Samisen 

Wilbur D. Steele's satire Not Smart 

Floyd Dell's comedy The Angel Intrudes 

Hutchin Hapgood's and 

Neith Boyce's play Enemies 

Pendleton King's Cocaine 

Every author, with one exception, has a book or more to 
his credit. Several are at the top of their profession. 

Rita Wellman, a Saturday Evening Post star, has had two 
or three plays on Broadway, and has a new novel, THE 
WINGS OF DESIRE. 

Cook and Glaspell are well known — he for his novels, and 
Miss Glaspell for novels and plays. 

E. Millay is one of America's best minor poets. Steele, 
according to O'Brien, is America's best short-story writer. 

Oppenheim has over a dozen novels, books of poems and 
essays to his credit. 

O'Neill has a play on Broadway now, BEYOND THE 
HORIZON. 

Hutch. Hapgood is an author of note. 

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